"Čelik demands Adem write uplifting propaganda for the benefit of the audience. 'What are they there for?' the interrogator asks. 'To be reminded of the petty imperfections of their everyday lives? Or-to be transported, moved, entertained-and in the end, elevated. Inspired to look at their own lives in a new light.'"
"The play isn't timely, nor is it meant to be. It's more like a kaleidoscope-as is our current, fractured reality. We can look at this play and ask ourselves: Where do we stand? As artists, allies, soldiers, or simply as moral agents."
"The audience barely knows when the play begins. We are guests at a wedding, but the event feels fraught, covert, and dangerous. Bride Mei and groom Adem appear, but just as quickly vanish."
A Mirror presents a complex examination of power, art, and ideology through interconnected scenes beginning at a wedding between former soldiers Mei and Adem, who is now a playwright. Government functionary Čelik interrogates Adem about his work, demanding he write propaganda that uplifts and inspires audiences rather than reflecting their everyday struggles. Čelik and fellow regime-approved playwright Bax attempt to teach Adem proper playwriting by performing a script about a military engagement, with Mei demonstrating combat movements using an umbrella. The play functions as a kaleidoscope reflecting contemporary fractured reality, prompting audiences to question their positions as artists, allies, soldiers, or moral agents within systems of control and artistic expression.
#artistic-freedom-vs-state-control #political-interrogation-and-power-dynamics #contemporary-uncertainty-and-instability #propaganda-and-artistic-integrity
Read at Portland Mercury
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